Go if: You like to mix & match different ballet styles or you want to take a crash course on Balanchine’s work: this particular piece covers all his styles and influences.
Skip if: You do not fancy abstract, plotless ballets. Though that would be your loss, between Emeralds, Rubies & Diamonds there might be at least one rock that is right for you!
Emeralds with the Royal Ballet (Tamara Rojo or Alina Cojocaru) or the Paris Opera Ballet
Rubies with NYCB (Ashley Bouder please!)
Diamonds with the Mariinsky (Uliana Lopatkina or Viktoria Tereshkina!)
Jewels is said to be the first full-length abstract ballet, although in reality its three acts, while sharing a common theme of gemstones (as represented in the costumes), are independent from each other, with music by different composers and choreographed in various styles. There are also several versions of the story as to how Balanchine came up with the inspiration for Jewels: according to one, jeweler Claude Arpels would have suggested it after inviting Balanchine to his showroom. In another, the idea came when Balanchine was trying to buy a ring for his muse & beloved Suzanne Farrell.
Despite having claimed that the ballet had nothing to do with actual jewels, Balanchine did evoke the colour and glitter of jewels in dancing – watch for the elaborate floor patterns and shaping of groups, reminiscent of necklaces and chains – and on the dancers themselves. For this, Barbara Karinska, his long time collaborator, created distinct, matching looks for each section of the ballet. The costumes were also designed so that the dancers could move freely, to meet the demands of Balanchine’s choreography.
Given that most of the glitter would come from the reproduction of the stone colours and their shine in the costuming and dancing, the settings were left bare with only minimal jewels reflecting the light. Perhaps for this reason, ballet companies around the world have certain artistic freedom when choosing stage settings for Jewels, whilst the costumes have to remain 100% true to Karinska’s original creations. The Royal Ballet’s staging for instance has set designs specifically created by London based Jean-Marc Puissant.
The opening piece, Emeralds, is set to music by Gabriel Fauré. This is Balanchine’s ode to Romantic ballets, which is hinted at not only in the long (aka Romantic) tutus but also in the choreography: fluid, wafting and delicate, full of floating bourrées, Giselle-like balances and sinuous steps. It evokes 19th century Paris and French ballerinas of that era. Composed of a small corps of ballet of ten women, three soloists and two leading couples, the piece starts with an opening Pas de Deux from the first couple, two solo variations for the ballerinas, a vivid Pas de Trois (one of the highlights of Emeralds), a Pas de Deux for the second leading couple and an ensemble finale.
If Emeralds is about 19th century Romantic Paris, Rubies brings us nearer to 1930’s jazzy America, thanks to Igor Stravinsky‘s extremely energetic and syncopated “Capriccio for Piano and Orchestra”. Here the girls’ costumes are short, “Ballet-on-Broadway” looking skirts. The choreography attempts to display all the different twists in the music, so one sees angular shapes, high extensions, jutting hips, flexed feet and more. Due to its “wow factor” Rubies has been the most successful of the three sections and can be seen staged on its own in certain occasions. Dancers usually compare performing in Rubies to running a marathon, given the stamina required. The ballet involves a leading couple, together with a female soloist and a corps of eight women and four men. After an opening introducing the dancers, a solo role for a tall typical-Balanchine ballerina, we see a very sparkly Pas de Deux for the leading couple and a real marathon of a finale where the dancers prance and chase each other, like “running horses”, full of fun, energy and intensity.
This final section is Balanchine’s homage to both his grand ballerina Suzanne Farrell and to Russian balletic tradition, in all its choreographic nods to the Imperial Russian Ballet schooling and to Petipa‘s classical masterpieces. Unsurprisingly, Balanchine chose a Russian score (Tchaikovsky‘s Symphony No. 3) and dressed his ballerinas in wonderful classical white tutus. The ballet opens with a waltz for a corps de ballet of twelve women and two soloists. The next movement is a remarkably regal Pas de Deux for the principal couple, structured in the classical way with an extended adagio and variations – think Sleeping Beauty, Raymonda, Swan Lake and La Bayadere all rolled into one – followed by an even more spectacular final polonaise (a crowd-pleasing, applause-generator essentially), in which all the dancers return to the stage forming intricate swirling patterns, as if replicating Diamond chains in their dancing.
In short, even though Jewels has no underlying story and may look on paper like detached sections unified by the overall “gemstone” theme, on stage the mix of dancing styles and music honours ballet’s roots and wraps up mood, excitement and drama in one dazzling, vibrant package.
Playlist for your Ipods
Gabriel Fauré. Pelléas et Mélisande (op. 80) and Shylock (op. 57).
Igor Stravinsky. Capriccio for Piano and Orchestra.
Pieter Ilyich Tchaikovsky. Symphony No. 3 in D major op. 29 (omit first movement).
Original Choreography: George Balanchine
Premiere: NYCB at New York State Theatre, April 13 1976.
Emeralds: Violette Verdy and Conrad Ludlow, Mimi Paul and Francisco Moncion,
Sara Leland, Suki Schorer and John Prinz
Rubies: Patricia McBride and Edward Villela, Patricia Neary
Diamonds: Suzanne Farrell and Jacques D’Amboise
Original Designs: Peter Harvey with lighting by Ronald Bates and costumes by Barbara Karinska
Sources and Further information
- Wikipedia entry for Jewels
- Ballet Notes from BalletMet Colombus by Jeannine Potter [link]
- The Balanchine Trust
- The Balanchine Foundation
- Patricia Neary speaks for the ROH Podcast. Available to download free from iTunes.
- How brightly shining? Jewels review by John Percival at danceviewtimes [link]